알레그리: 미제레레 (Miserere 불쌍히 여기소서) - Cambridge St. John's College Choir (1992 EMI Classics)
리차드 강2013. 3. 17. 03:08
Miserere
알레그리: 미제레레 (Miserere 불쌍히 여기소서)
Gregorio Allegri (1582 – 1652)
Miserere mei, Deus à 9
미제레레 : 이 곡의 악보를 유출하는 자는 파문에 처하노라
Album Title: Allegri: Miserere/Pergolesi: Stabat Mater/Caldara: Stabat Mater
Composer: Gregorio Allegri (1582 – 1652) Giovanni Battista Pergolesi (1710 - 1736) Antonio Vivaldi (1678 - 1741) Antonio Caldara (ca. 1670 - 1736) Conductor: George Guest, Lajos Rovátkay Performer: Peter Frank (Baritone) Gloria Banditelli (Mezzo-soprano) Monica Frimmer (Soprano) Gerd Türk (Tenor) Ensemble: Cambridge St. John's College Choir/Herford Westfälische Kantorei Orchestra: Capella Agostino Steffani Audio CD (October 13, 1992) Number of Discs: 1 Spars Code: n/a Recorded in: Stereo Imported from: England Label: EMI Classics (Uk) Copyright: c 1992 EMI Records ltd Total Length: 1:08:23 Period(s): Baroque (1600-1750) Genres: Classical Music Styles: Vocal Music
Miserere mei, Deus à 9 (ed. Guest) 13:53
Composer Gregorio Allegri (1582 – 1652) Lyricist Bible - Old Testament Conductor George Guest Ensemble Cambridge St. John's College Choir Period Renaissance Written by 1603; Italy
우리야의 죽음 - 시스틴 성당의 프레스코화 부분 (미켈란젤로 작)
미제레레(Miserere)는 '불쌍히 여기소서(Miserere mei, Deus...)' 라는 뜻으로 알레그리(G. Allegri : 1582~1652)가 작곡한 불세출의 걸작이다.
이 곡은 종교적 심성을 잘 표현한 곡으로 5성부의 합창과 4성부의 독창이 어우러지는 작품이다.
시스틴 성당에서는 해마다 성주간(Holy Week 부활절 전 1주일) 동안 이 곡을 불렀다고 하는데 High-C까지 올라가는 이 곡의 성스러움에 많은 사람들이 영혼의 정화를 경험하였다고 전해진다.
이 노래는 라틴어로 되어 있는데 가사는 다윗이 지었다는 시편 51편을 토대로 하고 있다.
다윗 왕(King David)은 충직한 신하 우리야(Uriah)의 아내 밧세바(Bathsheba)의 모습에 반해 동침한 뒤 임신을 하게 되자 자신의 죄를 덮기 위해 우리야를 전쟁터로 보내서 죽게 하고 밧세바를 차지한다.
선지자 나단(Nathan)이 다윗 왕의 이러한 부도덕함을 꾸짖자 회개의 눈물을 흘리며 지은 시가 바로 시편 51 (Psalm 51) 이다.
시편 51 (Psalm 51) 의 라틴어 가사
Miserere mei, Deus, secundum magnam misericordiam tuan.Et secundum multitudinem miserationum tuarum dele iniquitatem meam.
Amplius lava me ab iniquitate mea: et a peccato meo mund me.
Quoniam iniquitatem meam ego cognosco et peccatum meum contra me est semper.
Tibi soli peccavi et malum coram te feci : ut justificeris in sermonibus tuis et vincas cum judicaris.
Ecce enim in iniquitatibus conceptus sum et in peccatis concepit me mater mea.
Ecce enim veritatem dilexisti incerta, et occulta sapientiae tuae manifestasti mihi.
Asperges me hyssopo, et mundabor lavabis me, et super nivem dealbabor.
Auditui meo dabis gaudium et laetitiam et exsultabunt ossa humiliata.
Averre faciem tuam a peccatis meis et omnes iniquitares meas dele.
Cor mundum crea in me, Deus et spiritum rectum innova in visceribus meis.
Ne projicias me a facie tua et spiritum sanctum tuum ne auferas a me.
Redde mihi laetitiam salutaris tui et spiritu principali confirm!!!!!!!!!a me.
Docebo iniquos vias tuas et impii ad te convertentur.
Libera me de sanguinibus, Deus, Deus salutis meae et exsultabit lingua mea justitiam tuam.
Domine labia mea aperies et os meum annuntiabit laudem tuan.
Quoniam si voluisses sacrificium, dedissem utique holocaustis non delectaberis.
하느님, 자비하시니 저를 불쌍히 여기소서. 애련함이 크오시니 저의 죄를 없이하소서.
제 잘못을 말끔히 씻어주시고 제 허물을 깨끗이 없애주소서.
저는 저의 죄를 알고 있사오며 저의 죄 항상 제 앞에 있삽나이다.
당신께, 오로지 당신께 죄를 얻었삽고 당신의 눈앞에서 죄를 지었사오니판결하심 공정하고 심판에 휘지 않으심이 드러나리이다.
보소서, 저는 죄 중에 생겨났고 제 어미가 죄 중에 저를 배었나이다.
당신께서는 마음의 진실을 반기시니 가슴 깊이 슬기를 제게 가르치시나이다.
히솝의 채로써 제게 뿌려주소서. 저는 곧 깨끗하여지리이다. 저를 씻어주소서. 눈에서 더 희어지리이다.
기쁨과 즐거움을 돌려주시어 바수어진 뼈들이 춤추게 하소서.
저의 죄에서 당신 얼굴 돌이키시고 저의 모든 허물을 없애주소서.
하느님, 제 마음을 깨끗이 만드시고 제 안에 굳센 정신을 새로 하소서.
당신의 면전에서 저를 내치지 마옵시고 당신의 거룩한 얼을 거두지 마옵소서.
당신 구원, 그 기쁨을 제게 도로 주시고 정성된 마음을 도로 굳혀주소서.
악인들에게 당신의 길을 가르치오리니 죄인들이 당신께 돌아오리이다.
하느님, 저를 구하시는 하느님, 피 흘린 죄벌에서 저를 구하소서. 제 혀가 당신 정의를 높이 일컬으오리다.
주님, 제 입시울을 열어주소서. 제 입이 당신의 찬미 전하오리니
제사는 당신께서 즐기지 않으시고 번제를 드리어도 받지 아니하시리이다.
수 많은 작곡가들이 이 시편 51 을 텍스트로 하여 작품을 남기고 있다. 한때는...
로마 교황청에서는 이 작품이 외부로 유출되는 것을 금지하고 이를 필사(筆寫)한 자는 파문을 하도록 하였다. 따라서 이 곡을 듣기 위해서는 바티칸까지 직접 와서 듣지 않으면 안 되었다.
1770년 14세의 모짜르트가 이탈리아 여행 중 이 곡을 단 한 번 듣고 악보로 그려낸 일은 유명하다.
이 연주는 1994년 바티칸의 시스틴 채플 (Sistine Chapel) 에서 있었던 팔레스트리나 (G. P. Palestrina 1525~1594) 서거 400주년 기념연주회 실황녹음이다.
귀가 예민한 사람은 돔형의 건물에서 울리는 음향을 감지할 수 있다. The Tallis Scholars를 이끌고 있는 Peter Philips는 바흐 이전시대의 많은 작품들 중 파묻혀 있는 무반주 합창곡의 재현을 위해 이 단체를 설립하는 한편 Gimell이라는 음반사를 만들어 이러한 작업을 음악애호가들에 알리는 일을 계속해 왔다. 그러나 사업에 대하여 수완이 없었던지 이 음반사는 한 때 필립스사의 고음악 레이블로 전락하는 위기를 맞기도 했다. 현재는 다시 필립스사로부터 독립을 하였다.
이 곡은 옛부터 King's College Choir 의 연주(1963년 녹음)가 정평이 나 있다.
De 1959 à 1964, Roy Goodman est formé au sein de la maîtrise du King's College de Cambridge, où il est remarqué comme soliste dans le Miserere d'Allegri. De 1968 à 1970, il étudie le violon au Royal College of Music de Londres, et, surtout, devient organiste. Passionné par la musique baroque, il fonde dès 1975 le Brandenburg Consort, et entreprend des recherches sur l'interprétation de Bach. Il se spécialise également dans les symphonies de Haydn et de Carl Philip Emanuel Bach jouées sur instruments d'époque.
Depuis 1986, il dirige le Hanover Band et l'Orchestre baroque de la Communauté européenne. Il est aussi directeur des études de musique ancienne à la Royal Academy of Music de Londres.
Roy Goodman is Principal Guest Conductor of the English Chamber Orchestra and for the past few years has been Principal Conductor of Holland Symfonia and the Bachkoor Holland. He is well known for his work as director and founder of the Brandenburg Consort (1975-2001), as co-founder (with Peter Holman) of the Parley of Instruments (1979-1986), co-founder (with Denys Darlow) of the London Handel Orchestra (in 1981), Principal Conductor of the Hanover Band (1986-1994), Music Director of the European Union Baroque Orchestra (1989-2004) and as Music Director of the Manitoba Chamber Orchestra in Winnipeg (1999-2005).
In 2006 he made his debut with the Royal Concertgebouw Orchestra, Amsterdam [see www.roygoodman.com]
In 1959 (at the age of eight) Goodman made his first recording for Decca as a boy treble, with the choir of Kings College Cambridge under Sir David Willcocks, in Bachs St. John Passion (with Peter Pears as Evangelist). A few years later he achieved international fame as the soloist in Allegris Miserere (reissued, from 1963, on Decca Legends). His mothers godfather was Sir Malcolm Sargent whom he observed conducting at the Proms in the mid 1960s. When Goodman completed his studies at the Royal College of Music in London in 1970 he was already well qualified as a conductor, teacher, organist, violinist and musicologist. He is an honorary Doctor of Music, Fellow of the Royal College of Organists and Fellow of the Royal College of Music. From 1971 he spent several years as a High School music teacher, eventually as Director of Music at the University of Kent in Canterbury and as Director of Early Music Studies at the Royal Academy of Music in London. From 1975-1986 much of Goodmans career was spent as a violinist - working as concertmaster and soloist with Ashkenazy, Brüggen, Ivan Fischer, Gardiner, Herreweghe, Hogwood, Jacobs, Koopman, Mackerras, Marriner, Norrington and Rattle.
Miserere by Italian composer Gregorio Allegri (also called "Miserere mei, Deus" - English "Have mercy on me, O God") is a setting of Psalm 51 (50) composed during the reign of Pope Urban VIII, probably during the 1630s, for use in the Sistine Chapel during matins on Wednesday and Friday of Holy Week. It was the last of twelve falsobordone Miserere settings composed and chanted at the service since 1514 and the most popular: at some point, it became forbidden to transcribe the music and it was only allowed to be performed at those particular services, adding to the mystery surrounding it. Writing it down or performing it elsewhere was punishable by excommunication. The setting that escaped from the Vatican is actually a conflation of verses set by Gregorio Allegri around 1638 and Tommaso Bai (1650 - 1718, also spelled "Baj") in 1714.
The Miserere is written for two choirs, one of five and one of four voices. one of the choirs sings a simple version of the original Miserere chant; the other, spatially separated, sings an ornamented "commentary" on this. Many have cited this work as an example of the stile antico or prima pratica. However, its constant use of the dominant seventh chord and its emphasis on polychoral techniques certainly put it out of the range of prima pratica. A more accurate comparison would be to the works of Giovanni Gabrieli.
Mozart was summoned to Rome by the Pope, only instead of excommunicating the boy, the Pope showered praises on him for his feat of musical genius.
Burney's edition did not include the ornamentation or "abbellimenti" that made the work famous. The original ornamentations were Renaissance techniques that preceded the composition itself, and it was these techniques that were closely guarded by the Vatican. Few written sources (not even Burney's) showed the ornamentation, and it was this that created the legend of the work's mystery. However, the Roman priest Pietro Alfieri published in 1840 an edition with the intent of preserving the performance practice of the Sistine choir in the Allegri and Bai compositions, including ornamentation.
The Miserere is one of the most often-recorded examples of late Renaissance music. A famous, "celebrated" recording of Allegri's Miserere was that made in March 1963 by the Choir of King's College, Cambridge, conducted by Sir David Willcocks, which featured the then-treble Roy Goodman. This recording of the Miserere was originally part of an LP recording entitled 'Evensong for Ash Wednesday'[2] but the Miserere has subsequently been re-released on various compilation discs. (From Wikipedia.
Letter from Leopold Mozart to his wife [Sent from Rome, dated April 14, 1770. only parts of the letter relevant to the transcription episode are given here.]
We arrived here safely on the 11th at noon. I could have been more easily persuaded to return to Salzburg than to proceed to Rome, for we had to travel for five days from Florence to Rome in the most horrible rain and cold wind. I am told here that they have had constant rain for four months and indeed we had a taste of it, as we went on Wednesday and Thursday in fine weather to Saint Peter's and to the Sistine Chapel to hear the Miserere during the mass, and on our way home were surprised by such a frightful downpour that our cloaks have never yet been so drenched as they then were...
You have often heard of the famous Miserere in Rome, which is so greatly prized that the performers in the chapel are forbidden on pain of excommunication to take away a single part of it, to copy it or to give it to anyone. But we have it already. Wolfgang has written it down and we would have sent it to Salzburg in this letter, if it were not necessary for us to be there to perform it. But the manner of performance contributes more to its effect than the composition itself. So we shall bring it home with us. Moreover, as it is one of the secrets of Rome, we do not wish to let it fall into other hands, ut non incurramus mediate vel immediate in censuram Ecclesiae. --translation by Emily Anderson, in her The Letters of Mozart and his Family; London: Macmillan, 1938.
